Theme
Analysis
The Incompatibility of Military Heroism & Love
Before
and above all else, Othello is a soldier. From the earliest moments in the
play, his career affects his married life. Asking “fit disposition” for his
wife after being ordered to Cyprus (I.iii.234), Othello notes that “the tyrant
custom . . . / Hath made the flinty and steel couch of war / My thrice-driven
bed of down” (I.iii.227–229). While Desdemona is used to better
“accommodation,” she nevertheless accompanies her husband to Cyprus
(I.iii.236). Moreover, she is unperturbed by the tempest or Turks that
threatened their crossing, and genuinely curious rather than irate when she is
roused from bed by the drunken brawl in Act II, scene iii. She is, indeed,
Othello’s “fair warrior,” and he is happiest when he has her by his side in the
midst of military conflict or business (II.i.179). The military also provides
Othello with a means to gain acceptance in Venetian society. While the
Venetians in the play are generally fearful of the prospect of Othello’s social
entrance into white society through his marriage to Desdemona, all Venetians
respect and honor him as a soldier. Mercenary Moors were, in fact, commonplace
at the time.
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Othello
predicates his success in love on his success as a soldier, wooing Desdemona
with tales of his military travels and battles. Once the Turks are drowned—by
natural rather than military might—Othello is left without anything to do: the
last act of military administration we see him perform is the viewing of
fortifications in the extremely short second scene of Act III. No longer having
a means of proving his manhood or honor in a public setting such as the court
or the battlefield, Othello begins to feel uneasy with his footing in a private
setting, the bedroom. Iago capitalizes on this uneasiness, calling Othello’s
epileptic fit in Act IV, scene i, “[a] passion most unsuiting such a man.” In
other words, Iago is calling Othello unsoldierly. Iago also takes care to
mention that Cassio, whom Othello believes to be his competitor, saw him in his
emasculating trance (IV.i.75).
Desperate
to cling to the security of his former identity as a soldier while his current
identity as a lover crumbles, Othello begins to confuse the one with the other.
His expression of his jealousy quickly devolves from the conventional—“Farewell
the tranquil mind”—to the absurd:
Farewell the plum’d troops and the big wars
That make ambition virtue! O, farewell,
Farewell the neighing steed and the shrill
trump,
The spirit-stirring drum, th’ear piercing
fife,
The royal banner, and all quality,
Pride, pomp, and circumstance of glorious
war!”
(III.iii.353–359)
One
might well say that Othello is saying farewell to the wrong things—he is
entirely preoccupied with his identity as a soldier. But his way of thinking is
somewhat justified by its seductiveness to the audience as well. Critics and
audiences alike find comfort and nobility in Othello’s final speech and the
anecdote of the “malignant and . . . turbaned Turk” (V.ii.362), even though in
that speech, as in his speech in Act III, scene iii, Othello depends on his
identity as a soldier to glorify himself in the public’s memory, and to try to
make his audience forget his and Desdemona’s disastrous marital experiment.
Nature of Women
There are two types of women in Othello: Desdemona
represents the pure, blameless and faithful woman, and Emilia represents the
woman who wishes to be given an equal footing to men, especially in regards to
sexual matters. Ironically, both ladies end up dead at the play's
end. Emilia's relaxed moral sensibility when she steals Desdemona's
handkerchief is the primary cause that helps Iago to create the
"Truth" of Cassio's adultery with Desdemona. However, Desdemona's
respectful and submissive demeanor towards Othello also contributes to her
death. A woman more willing to seek out the cause of her husband's anger
may not have been killed.
Foolish Loyalty
From Iago's first lines in the play, Othello is
established as someone who relies heavily on the advice of others. Iago
was denied a promotion because Othello took the advice of others and chose
young and untested Cassio. Iago, who Othello had seen tested in battle,
was overlooked. Iago attacks this weakness in Othello, and manipulates
Othello so that he trusts Iago with a blinding faith. Iago is even able
to turn Othello's loyalty from Desdemona, whom Othello trusts in completely in
the beginning of the play, when he asks her to testify that she married him of
her own will.
The Other
Othello is a dark-skinned foreigner, and although he
is a strong general, he is not accepted into mainstream Venetian society.
Brabantio shows open prejudices towards him when he wishes that Roderigo would
have married Desdemona rather than Othello, and Brabantio can not believe that
Desdemona married Othello of her own will. Othello also has a different
set of beliefs and customs, and is not very familiar with Venice customs. This is part of why Iago can
manipulate him so easily.
Jealousy
Othello is the most famous literary work that
focuses on the dangers of jealousy. The play is a study of how jealousy can be
fueled by mere circumstantial evidence and can destroy lives. (In Othello,
the hero succumbs to jealousy when Iago convinces him that Desdemona has been
an unfaithful wife – in the end, Othello murders his wife and then kills
himself.) It is interesting that Iago uses jealousy against Othello, yet
jealousy is likely the source of Iago's hatred in the first place. In Othello,
jealousy takes many forms, from sexual suspicion to professional competition,
but it is, in all cases, destructive
Race
Othello is one of the first black
heroes in English literature. A military general, he has risen to a position of
power and influence. At the same time, however, his status as a black-skinned
foreigner in Venice marks him as an outside and exposes him to some pretty
overt racism, especially by his wife's father, who believes his daughter's
interracial marriage can only be the result of Othello's trickery. Because the
play portrays fears of miscegenation (the intermixing of races via marriage
and/or sex), it's nearly impossible to talk about race in Othello
without also discussing gender and sexuality.
Gender
Gender relations are pretty
antagonistic in Othello. Unmarried women are regarded as their fathers'
property and the play's two marriages are marked by male jealousy and cruelty
(both wives are murdered by their own husbands). Most male characters in Othello
assume that all Venetian women are inherently promiscuous, which
explains why female sexuality is a huge threat to men in the play.
Othello is easily convinced his wife is cheating on him and feels emasculated
and humiliated as a result.
We should also note that it's impossible to discuss gender and sexuality without considering race – several characters in the play, including Othello, believe that black men sexually contaminate white women, which may partially explain why Othello sees his wife as soiled. See also our discussions of "Race" and "Sex" for more on this topic.
We should also note that it's impossible to discuss gender and sexuality without considering race – several characters in the play, including Othello, believe that black men sexually contaminate white women, which may partially explain why Othello sees his wife as soiled. See also our discussions of "Race" and "Sex" for more on this topic.
Sex
Shakespeare's play explores some
common sixteenth century anxieties about miscegenation (interracial sex and
marriage) by examining the relationship between a black man who marries a white
woman, accuses her of being unfaithful, and then strangles her on her wedding
sheets. In Othello, most male characters assume that women are
inherently promiscuous, which explains why all three women characters in the
play are accused of sexual infidelity. It also explains, in part, why it's
possible for Iago to so easily manipulate Othello into believing his wife is
having an affair. Othello is also notable for its portrayal of
homoerotic desire, which seems to be a factor in Iago's plot to destroy Othello
and Desdemona.
The Danger of Isolation
The action of Othello moves
from the metropolis of Venice to the island of Cyprus. Protected by military
fortifications as well as by the forces of nature, Cyprus faces little threat
from external forces. Once Othello, Iago, Desdemona, Emilia, and Roderigo have
come to Cyprus, they have nothing to do but prey upon one another. Isolation
enables many of the play’s most important effects: Iago frequently speaks in
soliloquies; Othello stands apart while Iago talks with Cassio in Act IV, scene
i, and is left alone onstage with the bodies of Emilia and Desdemona for a few
moments in Act V, scene ii; Roderigo seems attached to no one in the play
except Iago. And, most prominently, Othello is visibly isolated from the other
characters by his physical stature and the color of his skin. Iago is an expert
at manipulating the distance between characters, isolating his victims so that
they fall prey to their own obsessions. At the same time, Iago, of necessity
always standing apart, falls prey to his own obsession with revenge. The
characters cannot be islands, the play seems to say: self-isolation as
an act of self-preservation leads ultimately to self-destruction. Such
self-isolation leads to the deaths of Roderigo, Iago, Othello, and even Emilia.
Marriage
Shakespeare's portrayal of
marriage is pretty bleak in Othello. The play begins with a conflict
between Desdemona's husband and her father, who sees his daughter's elopement
as a kind of theft of his personal property. The play's two wives (Desdemona
and Emilia) are both unfairly accused of infidelity, and both wives are
murdered by their abusive husbands. More famously, perhaps, is the way
Shakespeare examines sixteenth-century anxieties about interracial couplings –
in Othello, the marriage of a black man and a white woman allows
Shakespeare to explore attitudes about race and gender.
Manipulation
Othello's villain, Iago, may be literature's most
impressive master of deception. Iago plots with consummate sophistication,
carefully manipulating Othello (without any real proof) into believing that
Desdemona has been unfaithful. His understanding of the human psyche is
phenomenal, as is his ability to orchestrate a complicated interweaving of
pre-planned scenarios. Iago's deception is potent because of his patience, his
cleverness, and what seems to be his intrinsic love of elegant manipulation.
Warfare
Since the play's protagonist is a
military general, war is always hovering in the background in Othello.
But the only actual battle the play promises is avoided, thanks to bad weather.
The real battleground of the play, it turns out, is the mind. Many critics read
Othello as an extended war allegory; it is possible to see Iago's
machinations as the strategic planning of a general, individual victories as
minor battles, and the three resulting deaths the casualties of psychological
combat. The play also dwells on the relationship between masculine identity,
war, and sexuality.
Hate
Hatred is supposed to have a
cause, some concrete event or insult that inspires a lasting rage. But in Othello,
the play's villain is motivated by a hatred that seems to elude any reasonable
definition. Iago's hatred and his determination to destroy his boss, Othello,
seems out of proportion with the reasons he gives for it: anger that Othello
did not promote him or jealousy that Othello might have slept with Iago's wife.
Iago's loathing has been famously called a "motiveless malignancy"
that redefines our understanding of hatred, making it seem a self-propelling
passion rather than the consequence of any particular action.
Identity
In Othello, Shakespeare
explores factors that play an important role in the formations of one's
identity – race, gender, social status, family relationships, military service,
etc. Othello is also concerned with how an individual's sense of
identity (which can break down and be manipulated by others) shapes his or her
actions.
